What’s become of Otl Aicher’s former abode? A visit to the Allgäu.

What’s become of Otl Aicher’s former abode? A visit to the Allgäu.
Interviewed: Erik Spiekermann, type designer, author and Aicher critic.
Technology: a central notion and fixed point of perspective in the work of Otl Aicher.
The British architect Norman Foster on his friendship with Otl Aicher: He had absolute integrity.
Thoughts on the colour palettes of Otl Aicher.
Absolute sharpness, reduction and strict rules determine the character of his pictures: Otl Aicher as photographer.
Under Otl Aicher’s direction, designers, architects and landscape planners shaped the face of the Olympic Games 1972.
Inge Aicher-Scholl preserved the legacy of the White Rose.
An interview with design icon Stefan Sagmeister about typefaces, beauty and the legacy of Otl Aicher.
The International Design Center Berlin (IDZ) invites you to a slide show and panel talk at Architektur Galerie Berlin on 20 October. Karsten de Riese and Prof. Michael Klar will report on a photo reportage commissioned by BMW that took them to Tunisia in 1975 together...
On the occasion of the 50th anniversary of the 1972 Olympic Games, the IDZ invites you to a discussion on the vision of the Munich Games and the status quo as well as the future of the Olympic movement on 26 August. The event at Berlin’s Akademie der Künste on Pariser...
Isny im Allgäu owes Otl Aicher a corporate design that is concise, bold and singular.
With a retrospective of Otl Aicher’s book “kritik am auto – schwierige verteidigung des autos gegen seine anbeter” (Criticism of the Car – Difficult Defence of the Car against its Worshippers) published in 1984, the IDZ continues its series of events on the “otl...
Eine Stadt leuchtet: Mit seinem farbenfrohen Erscheinungsbild der XX. Olympischen Sommerspiele 1972 setzte Otl Aicher ein Signal. Die junge Bundesrepublik war in der Moderne angekommen.
Today marks the centenary of Otl Aicher’s birth. The International Design Center Berlin (IDZ) is taking this date as an opportunity to pay tribute to this great designer. With otlaicher100.de, a new online platform is being launched – a curated space that provides...
Reflections on Inge Aicher-Scholl and Otl Aicher.
The International Design Center Berlin (IDZ) is taking Otl Aicher’s centenary as an opportunity to pay tribute to this great designer and to make his work visible. An online platform and a series of events will address Otl Aicher’s multifaceted cosmos of topics and...
Otl Aicher’s Dept. XI team: the visual identity of the Munich ’72 Olympics was the work of graphic designers, illustrators and technical staff from all over the world.
Otl Aicher’s Poster displays for the Ulmer Volkshochschule (Ulm Adult Education Centre).
From O to R: Let’s talk about a hedgehog, standardisation and neurotis for a change (please click on the letters).
Aicher’s childhood and youth: the years 1922 to 1945.
Otl Aicher’s signage systems for airports, metro stations and hospitals are considered exemplary to this day.
Der einstige Braun-Chef-Designer im Gespräch über den Co-Gründer der HfG.
A Broadcast: What is his place in today’s world?
The Aichers: a brief family history.
Drawing in Rotis: former Aicher co-worker Reinfriede Bettrich talks about hand sketches, the first computers and everyday life at the office.
How Otl Aicher’s papers and materials came to the HfG-Archiv/Museum Ulm.
Die Küche zum Kochen (The Kitchen for Cooking) – the genesis of a book that has lost none of its relevance.
How a dachshund conquered the world: former Aicher staff member Elena Schwaiger on plush animals, fakes and the authentic mascot of the 1972 Olympic Games in Munich.
Le Violon d’Ingres or An Attempt to Defend the Writings of Otl Aicher.
Otl Aicher as the architect of Rotis.
Otl Aicher and his critique of the automobile.
First broadcast: 15.02.1971 on Bayerischer Rundfunk, Munich (Only available in German).
Interviewed: Jürgen Werner Braun on his collaboration with Otl Aicher.
They created the signature of an epoch: designers Otl Aicher, Willy Fleckhaus, Anton Stankowski and Kurt Weidemann.
FSB 1305: Probably the only unpublished draft by Otl Aicher.
Otl Aicher is considered one of the formative German protagonists of 20th century design. He also shaped FSB. Celebrating the 100th anniversary of his birth, the East Westphalian company, which is rooted in the world of architecture, is taking a look back and inviting people to join the discourse.
For FSB, Otl Aicher was mentor, sparring partner and visual designer all in one. FSB primarily creates products for the hand – door handles. Aicher describes such products as objects of everyday culture. Only from the culture of the everyday does high culture emerge. Through an examination of the everyday, the creation of icons is made possible. Aicher’s themes and approaches have endured to this day and continue to engage new generations. FSB looks both towards the future and back on more than 35 years that are inseparably linked to the designer, who died in 1991, that had a lasting influence on the company that was founded in 1881.
As early as the 1950s, FSB was included in the permanent collection of the New York Museum of Modern Art with four door handle designs by its “in-house designer” Johannes Potente. Together with Otl Aicher, FSB fundamentally questioned the company’s actions in the 1980s and developed guiding principles that are still valid today: What emerged was a self-understanding based not only on an examination of the company’s origins and traditions but also on the cultural history of the door handle and that of gripping itself. The door handle, hitherto underestimated by the public as an “accessory”, was discovered as a design-relevant “tool for extending the hand” and product design became a tool for successful brand positioning.
The inspiration for FSB’s logo: the door handle design by philosopher Ludwig Wittgenstein (1989-1951) for his sister’s house in Vienna.
Today, the FSB brand is globally synonymous with aesthetically and functionally high-quality hardware solutions for doors and windows and barrier-free sanitary fittings. Architects and builders prefer to use products made in Brakel because at FSB they encounter a pronounced understanding of the requirements of modern construction projects. Everything related to handles and grips in the built space is supplied from a single source and completely “made in Brakel, Germany”.
FSB considers the ergonomics of gripping, the significance of handles as artefacts, and the interaction of functionality and design in a wide variety of cultural, philosophical, scientific and material-technical contexts. FSB always understands a building as a whole. In doing so, the East Westphalians focus on coherence in the application of architectural and design principles. The handle is the elementary interface between man and architecture. Working closely with architects, FSB finds optimum hardware solutions in terms of both form and materials or even develops them exclusively for the building in question.
Ever heard of a thumb brake or index finger notch? No? If Otl Aicher had his way, every door handle would have one. Equally important: gripping volume and ball support/ball pressure surface.
In this anniversary year, FSB invites you to engage in a discourse outside the norm. Was Otl Aicher a rebel who wanted to draw attention to grievances through uncomfortable theses? How does society and how do experts relate to his theses today? You can also find out more at
about the “Four Commandments of Grasping” and what door handles have to do with philosophy. In addition, you will learn about FSB 1305, probably Otl Aicher’s only unpublished design, and you will be able to purchase it in a limited edition.